A chant repertory associated with Milan and one of only two musical repertories of the Latin Church to have been transmitted integrally in pitch-accurate notation. All the others were supplanted by ‘Gregorian’ chant before being adequately recorded. The survival of the Ambrosian music is due to the enduring importance of Milan, which the Byzantine historian Procopius described as ‘the first city in the West, after Rome’.
1. Distribution, origins and development.
4. Modal classification and tonal structure of the melodies.
TERENCE BAILEY
For some centuries Ambrosian chant has been confined to Milan, its suburbs, and to certain dependent parishes mainly between the city and Lakes Como and Maggiore to the north. The rite attributed to St Ambrose was centred on Milan, but it was formerly very widely disseminated: according to an Irish monk writing in France in 767, its domain was ‘Italia’, a region that in Ambrose’s day included all 17 Roman provinces of the northern Italian peninsula. There is evidence that the chant was even sung in southern Italy, in regions conquered in the 6th century by the Ostragoths and the Lombards (whose heartland was northern Italy, in Ambrosian territory). Because of the wide distribution of the rite and its associated chant, the term ‘Ambrosian’ is perhaps preferable to ‘Milanese’, even though the role of St Ambrose in the formation of the liturgy bearing his name is no better documented than the part played by St Gregory in ‘Gregorian’ chant.
Milan had a bishop, and therefore liturgical independence, as early as the 2nd century; thus it can hardly be doubted that ‘Milanese’ chant was to some extent indigenous. But outside influences must have been important, not least the influence of Rome, ‘whose form and fashion’, declared St Ambrose, ‘we follow in all things’. It has been suggested that the Ambrosian liturgy was strongly influenced by the East. Borrowings from the Greek Church have been identified, but it is not clear whether these date from the formative period of Ambrosian chant, or whether they are more significant than similar influences identified in other Latin rites. Connections between the Ambrosian rite and the ancient liturgies of Spain and Gaul have also been demonstrated, but the origin of what was shared and whether the relationship was particularly significant have yet to be established.
It is clear that Ambrosian chant was initially open to outside influences and shared in some of the developments documented in Gregorian books. Sequentiae – the melismatic extensions of the alleluia jubilus mentioned by Notker and specified in Gregorian manuscripts as early as the end of the 8th century – have exact counterparts in the melodiae of Ambrosian antiphoners. But it is significant that the texted versions – the sequences – were not admitted in Ambrosian books, neither were any of the other interpolations generally known as tropes. The surface elaboration of the melodies aside, the development of the repertory seems to have been notably constrained after the Frankish conquest. A few chants were added locally in the late medieval period, but it appears that in general the Milanese were reluctant, or unable, to add to their repertory. The late Gregorian Office employed thousands of antiphons for its psalmody; yet the Ambrosian count is in the hundreds. At the beginning of the 12th century there were more than 400 Gregorian Mass alleluias; Ambrosian books contain only ten. The explanation for this conservatism must be the Gregorian hegemony. Whether Charlemagne made a serious attempt to suppress Ambrosian chant in favour of Gregorian chant is not known. Milan, however, soon found itself surrounded by customs all the more difficult to resist because their universality had become a symbol of the universal authority of the papacy.
Books containing complete texts of the Ambrosian Mass and Office survive from the 11th century, and a small number of fragments from as early as the 8th. However, except for a few neumes copied into Ambrosian books otherwise lacking musical notation, and for a few pieces included in Gregorian sources, Ambrosian melodies appear not to have been notated until the 12th century. Before then, it seems, the oral tradition sufficed. The oldest and best sources of Gregorian chant are written in cheironomic neumes. The earliest Ambrosian music books are already pitch-accurate: the melodies are written on lines in a notation that belongs to the Guidonian type used generally in central Italy. That the Milanese notation does not derive from one of the notations in use in the north is probably an indication that there is no lost cheironomic tradition for the repertory. The late codification is in some respects unfortunate, because the written chants display unmistakable signs of decline. It is reasonable to suppose that in earlier times, before the oral tradition began to decay, Ambrosian melodies were finely variegated by the kind of ornaments and other nuances preserved in 9th- and 10th-century Gregorian cheironomic manuscripts. But Ambrosian notation includes almost none of these subtleties; for example, the quilisma, despite its appearance in modern practical editions, is entirely absent from the manuscripts.
The Ambrosian antiphoner, which contained both Mass and Office chants, was divided into two parts: the pars hiemalis, for the period from the third Sunday of October until Holy Saturday, and the pars aestiva, the chants for the rest of the year. This division corresponded to a division in the Milanese liturgy. During the Middle Ages the city had two cathedrals, each with its separate baptistry; before the destruction of these edifices in the 14th and 15th centuries (to make room for the present enormous Duomo), the venue of the episcopal Office alternated between the Winter Church (S Maria Maggiore) and the Church of Summer (S Tecla). The surviving copies of the antiphoner are in remarkable agreement and may have descended from a single archetype. There can be little doubt that this archetype was executed in Milan and that the versions of the chants given official status by the codification were those sung in the cathedral liturgy. No Ambrosian monastic antiphoner has been discovered; perhaps none was executed. It may be that Ambrosian monasteries (like so many ancient foundations on both sides of the Alps) were compelled, in the wake of the Frankish conquests and the reforms of Benedict of Aniane, to adopt the Benedictine Rule.
Ambrose was celebrated as the father of Latin hymnody. According to Augustine he introduced hymns – presumably his own – into the public liturgy in Milan. But metrical texts were no more important in the medieval Ambrosian liturgy than in the other Latin rites. Ambrosian chants are overwhelmingly biblical (the Psalter being the principal source) and this scriptural basis had a profound influence on their rhythm. The original Hebrew and Greek of the Bible – even the psalms, canticles and other poetic portions – had been rendered into Latin prose, whose irregular rhythm is reflected in the musical settings of the excerpts employed as liturgical formulae. Although the performance of the hymns may well have differed from that of other chants, the medieval notation gives no indication that the hymn melodies reinforced the metrical accents or quantities of the texts.
The style of Ambrosian melodies varies remarkably. Many chants, for example, the antiphons for the ferial psalms, are brief and simple, with most syllables set to one or two notes. Other forms, however, such as the cantus (the counterparts of the Gregorian tracts) and the Mass alleluias, are elaborate compositions containing melismas of impressive length. The distinctive stylistic contrasts found in Ambrosian chant are not compelling evidence of an origin independent of Gregorian chant. The simplicity of certain genres can be explained by the conservative attitude of the rite towards some parts of the liturgy, for example, the ferial Offices, whereas the exaggerated melismas found in certain other chants, particularly those for the great festivals, are clearly late additions of a kind also found in Gregorian books. It would be unreasonable to suggest that all ecclesiastical chants were originally simpler, but progressive elaboration does seem to have been a general phenomenon. Gregorian melodies – the first to be codified – are for the most part freer of extravagant melismas than the repertories recorded later. The suggestion is that the versions of the Roman melodies fixed by notation represent the general level of elaboration in 8th- or 9th-century ecclesiastical chant. The Old Roman repertory, first notated two or three centuries later, is considerably more elaborate than the Gregorian; and the Ambrosian, codified later still, is the most elaborated of the three, at least with regard to some of its chants (see the responsory verse Suscipiant montes pacem in ex.1).
Another distinctive feature of Ambrosian melodies may perhaps be similarly explained. The Gregorian, Old Roman and Ambrosian repertories are closely related; indeed, they share many melodies. The Ambrosian versions of these shared chants, especially the longer ones, are as a rule more stepwise than the Gregorian. This markedly conjunct style is general in elaborated Ambrosian music: Ambrosian melodies are often wave-like, with an undulating motion even more pronounced than in Old Roman chant, where similar tendencies can be seen. A striking but typical example of the conjunct Ambrosian style is the setting of Adiutorium nostrum a Domino, the third verse of the cantus for the Lenten Sunday De samaritana (ex.2). The filling-in of intervals which produced this smoothness, like the decoration with inserted melismas (see above), is probably the result of a change of fashion in ecclesiastical music – a stylistic change that was unimpeded in an oral tradition but constrained (as in Gregorian regions) where the melodies had been fixed forever by notation.
In Ambrosian antiphoners there is no sign of the classification of the melodies by modes, nor of the operation of such a system in the choice of recitation tones in the psalmody. This is not to say that the tonal basis of Milanese chant differs significantly from that of Gregorian, but rather that the cultural influences that led the Franks near the beginning of the 9th century to apply the Byzantine oktōēchos to the repertory they had recently imported from Rome were not so strongly felt in Milan. Most Ambrosian chants end on the notes D, E, F, or G; but a greater proportion than in the Gregorian repertory have A or C as the final. To some extent this divergence must be due to a regularization of the Gregorian repertory, to make it fit better with the imposed eight-mode system. In any case, the difference seems not to be significant. Nearly all the Ambrosian chants with finales that would be considered irregular in the Gregorian system are simple transpositions: their melodies belong to families, all or nearly all of whose other members are written at levels that correspond to one of the four Byzantine and Gregorian maneriae.
Ambrosian chant forms, like Gregorian and those of the other Latin rites, may be divided into three general categories: psalmodic refrains, recitation formulae and hymns. There are two main classes of chant in the first category, both of them found in the Mass and the Office: (1) responds, which appear in the medieval books with the remains of the more extensive psalmody that in the early Church was stipulated between liturgical readings; and (2) antiphons, which were (or had been) sung in connection with other psalms or canticles, either those that accompanied actions (such as processions) or those that were part of the routine cycle of scriptural recitations.
The responds are elaborate chants, obviously (in their present form) meant to demonstrate the art of the singer: their ambitus is normally wide, and although syllabic passages and recitation on one pitch are occasionally encountered, most syllables are set to three or more notes (see ex.3, Adduxi vos per desertum, the responsorium in choro for the first Sunday after Easter). Many of the responsories assigned at Matins and Vespers on important occasions are extended by means of striking melodiae, melismas that were presumably added about the time similar elaborations of the Mass alleluias became fashionable.
The antiphons are more varied. Those that kept their association with extensive psalmody remained relatively simple, their style ranging from strictly syllabic to moderately melismatic. Antiphon refrains sung with no psalm verses, or with only vestigial psalmody, range from moderately melismatic to very elaborate. Within such chants there are passages where several consecutive syllables are set to single notes, sometimes to a single pitch; but melismas of six to nine or more notes are dispersed regularly throughout. Many self-standing antiphons are sufficiently elaborate (see ex.4, Ex Syon species, the antiphona in choro for Saturday in the fifth week of Advent) to make it impossible to distinguish them from responds on the basis of musical style alone. For the same reason it is also difficult to decide whether or not such chants developed from the relatively small number of melody types that are the basis of most of the simpler psalmodic antiphons.
Recitation tones encompass the widest variation in style. Generally speaking, the ones used for extensive psalmody are simple and those for abbreviated psalmody are elaborate. The simple psalm tones consist mostly of recitation on a single note. Some of the responsory verses seem like decorated versions of simple tones (see the setting of Popule meus quid feci in ex.3); but others are so elaborate that the rules governing their adaptation to another psalm text are obscure. Many responsory verses have the appearance of free melodies, indistinguishable in style from their responds.
The third category – hymns – is perhaps of lesser importance than the Saint’s reputation might suggest: 40 sufficed for the 12th-century Office and these were sung to fewer than 30 melodies. The latter vary somewhat, but most fall within a comfortable ambitus and their prevailing style is simple: largely syllabic but with occasional groups of two or three notes (rarely more).
The Ambrosian Offices of Prime, Terce, Sext, None and Compline were very simple; even in the last stage of their development they included little music. By the 11th century each of the Little Hours began with a hymn, but their psalmody was performed without antiphons, and the responsoria brevia were sung to simple formulae. The elaborate Ambrosian music was sung only at Matins, Vespers and at an extra Office called Vigils (vigiliae), which took place in the cathedral on saints’ feasts after Vespers and before the procession to the stational church. Matutinae (Matins), which combined observances divided in the Roman rite between Matins and Lauds, was by far the most important of the Offices. Gregorian and Ambrosian Vespers were very similar (some of the correspondence is almost certainly due to later revisions). At Vigils, as at Matins and Vespers, there were hymns, responsories and antiphons, but nearly all the chants were borrowed from (or, at least, shared with) Vespers.
15 types of antiphon accompanied the psalmody of Matins, Vespers and Vigils. For the six to 16 ferial psalms of Matins, three antiphons sufficed; but between four and 24 were needed when the psalms were specially chosen. At Vespers, the ferial psalms required five antiphons; but there were only two Proper psalms for saints’ feasts and only one for important occasions of the Temporale. Additional antiphons were sung with the unvarying psalms and canticles of Matins and Vespers. Moreover, on most days these Offices did not conclude in the cathedral but in one of the baptistries, where there was additional psalmody: four or five psalm verses sung with special antiphons and the Gloria patri. The 15 antiphon types are defined by function, and the repertories are virtually discrete. Most of the refrains employ a phrase from the psalm or canticle with which they are sung, and it is this feature, rather than sharp stylistic differences, that explains their classification. The style of the refrains varies considerably, but by and large the difference between the antiphons used for important occasions and those used on ordinary days is greater than that between antiphons of different categories.
The variation between the antiphon types is more a question of length than elaboration. But it is typical of Ambrosian chant that there is sufficient diversity within the individual repertories to preclude classification by either of these criteria. As might be expected, most of the refrains of the ferial psalms are minimal. For instance, Sedes tua Deus (the antiphon for Psalms xliv–xlvi at Matins on Thursdays of the first week of the cycle) is almost perfectly syllabic. However, Iubilate Deo omnis terra (for Psalms lxv–lxvii at Matins on Mondays of week 2), whose melody belongs to the same family, is decorated with groups of two, three and four notes; moreover it has two phrases, where the first alone would have been grammatically sufficient. (Both antiphons are given in ex.5.)
The refrains for the fixed psalms and canticles of the Office are usually longer and more developed than the antiphons of the ferial cursus, although the simplest of the former could be mistaken for the latter. The length and degree of elaboration depend generally, though not in every instance, on the occasion. In ex.6 the antiphons for the ‘Laudate’ psalms (cxlviii–cl) at Matins, Stellae et lumen and In potentatibus eius, illustrate the range of styles; the melodies belong to the same family, but the first (for Fridays in Lent) is minimal, while the second (for Sundays) is much more developed.
The longest Office antiphons still used as psalm refrains in the Middle Ages are the antiphonae duplae. The name may simply refer to the two sections of the antiphons (textually independent, sung from opposite sides of the choir); but in most, the same melody is adapted to both parts (see ex.7, Levita de tribu/Qui suum sanguinem, the antiphon for Psalm cxiv at Vigils on the feast of St Stephen).
At Sunday Matins (except in Lent) and on festivals, there was an elaborate procession involving three crosses, one of them surmounted by lighted candles. During this impressive ceremony an antiphona ad crucem was sung five or even seven times, concluding with the Gloria patri that was normally associated with psalmody, but no psalm verses are assigned in the medieval books. The antiphona in choro (ex.4) was sung in the choir (by the precentor and singers arranged around him in a circle) at Vespers on Sundays and feast days (except at the solemn Ambrosian Vespers that included a Mass). This antiphon retained no trace of psalmody. The chants sung during processions were known as psallendae – the name referring, no doubt, to the psalmody that was traditionally involved (the Ambrosian term for procession was ‘psallentium’). Psallendae are antiphons – they are occasionally so designated in antiphoners – and are generally similar in style to the antiphonae ad crucem, the antiphonae in choro and the Mass antiphons. They constitute the largest category of Ambrosian antiphon: more than 700 are assigned in various processions and more than 500 have no other assignment. In the medieval books only a few are allocated psalms (generally the first in each procession), raising the question of whether the remaining antiphons were sung alone or whether those who compiled the books merely thought it unnecessary to specify the psalms.
In the Ambrosian liturgy these were employed only in the Office. Antiphoners – if what was written can be taken at face value – contain a great many formulae (more than 150), but this is misleading. There is evidence that ‘seculorum Amen’ cues were not included in the archetype of the antiphoner, and there are clear signs that the neumes indicating these formulae were in the first instance jotted down, rather carelessly, in campo aperto. Ambrosian simple psalmody is unsystematic. The ordering by mode, such as is found in Gregorian books, is not in evidence; the recitation tone and termination had to be indicated in each instance. Ralph of Tongers, writing towards the end of the 14th century, makes it clear that no median cadence was employed: ‘the Ambrosians sing all psalms plainly in the middle; only the ends of the verses vary according to the modes’. His statement is confirmed a century later by Gaffurius, who also records that there was no introductory inflection (initium): the Ambrosians ‘begin their psalmody, of whatever mode [tonus] on the note written at the beginning of its seculorum amen; and on this same note they continue, with no cadence interrupting, until the seculorum amen’. Initial inflections like those in Roman psalmody are included in modern Ambrosian chant books, but evidence for these initia is slight and contradictory; they are probably the result of Gregorian contamination.
In most cases, responsories are associated with assigned readings or with hymns (which in this respect were treated as though they were readings). Three responsories were normal in the morning Office, and when Matins terminated in the baptistry, a fourth was sung there. In the evening Office, similar assignments were made: the hymn was followed by the responsorium in choro; when there were readings, they were separated by responsoria ad lectiones; and when the Office concluded in the baptistry, there was a responsorium in baptisterio. Although the latter may originally have been connected with a reading, none is assigned in the medieval books. At the special Ambrosian Office of Vigils, three responsories were usually sung, the first following the opening hymn, the others in connection with assigned readings. Additional responsories were assigned for other lessons that took place outside the regular Office, especially in Lent.
The first hymn of the day, at the beginning of the morning Office, was invariable, as were (at least originally) those that began each of the Little Hours. The second hymn at Matins (in the part of the Office corresponding to Gregorian Lauds), the hymn at Vespers and that at Vigils varied in accordance with the day or season. The Ambrosian liturgy, like the Roman–Benedictine, made use of brief introductory and closing formulae, for example, the versicle Deus in adiutorium meum intende and its response Domine ad adiuvandum me festina from Psalm lxix (‘Make haste, O God, to deliver me; make haste to help me, O Lord’) that opened Matins. These, and similar formulae employed in the Mass, were usually intoned in the simplest manner. Of greater interest are the lucernarium, the chant that introduced Vespers, and the completorium, which was sung at Matins and Vespers to conclude the ceremonies in the baptistry (two were sung when both baptistries were visited). Lucernaria and completoria are found only in small numbers. For the sake of variety, there was a choice of Ordinary chants for Sundays, for Saturdays, for weekdays and for saints’ feasts. Proper lucernaria were provided for a few occasions.
The texts of the completoria are set to recitation tones, some very simple, others decorated here and there with moderate melismas. It is more difficult to determine the category of the lucernaria, or even whether all belong to the same musical type. The two parts of the chant assigned on ordinary weekdays and the lucernarium for Saturdays are obviously nothing more than slightly ornamented examples of a versicle and response. But the lucernaria for Sundays, saints’ feasts, Christmas, Epiphany and a few other special occasions are elaborate two-part chants resembling Office responsories or psalmelli.
In the Ambrosian rite the Gloria in excelsis Deo was sung not only at Mass, but also (until the 16th-century reforms) after the psalmum directum at Matins. Antiphoners of the 12th and 13th centuries contain two Gloria melodies: one is a simple recitation tone, decorated only by a 12- or 13-note melisma repeated at the conclusion of certain phrases and a similar melisma on the closing ‘amen’; the second seems to have begun as an elaboration of the first but is significantly related to one of the oldest Gregorian settings, ‘Gloria A’.
At the time of the earliest antiphoners there were nine Proper chants in the Ambrosian Mass, as many as eight of which were sung at Christmas, Epiphany and Easter (the only occasions with antiphonae ante Evangelium). The chant types represented in the Mass include antiphons, responsories and embellished recitation tones, although the curtailment, or complete suppression, of the psalmody – and the subsequent melodic elaboration – have obscured in most instances the original stylistic differences between these categories. By the 12th century none of the antiphons at Mass (except the offertoria, whose classification is disputed) retained verses. It is thought that Mass antiphons were originally sung with a series of psalm verses to accompany liturgical actions: the ingressa, while the celebrants made their way to the altar at the start of the Mass; the antiphona post Evangelium, while the celebrants returned to the altar at the conclusion of the readings; the offertorium (also called the offerenda), during the ceremonies that preceded the oblation (see Offertory, §3); the confractorium, during the breaking of the bread that was to be consecrated; and the transitorium, which, according to an early missal, was sung while the priest ‘transferred that book to the other side of the altar’. The texts of a number of transitoria are known (or believed) to be translations of Greek originals. Whether the melodies of such chants are also Byzantine is difficult to say, but in some cases their repetitive structure sets them apart from other Ambrosian chants (see Te laudamus Domine in ex.8). The three antiphonae ante Evangelium were meant, perhaps, to accompany processions to the pulpit with the Gospel book.
The remaining Proper chants of the Mass were sung in connection with readings. In earliest times, there were three lessons: St Ambrose wrote, ‘first the prophet is read, then the Apostle, then the Gospel’. The lessons of the Ambrosian Mass were separated by what had been responsorial psalms. In the case of the first of these chants (the counterpart of the Gregorian respond–gradual) this origin is revealed by the name psalmellus – ‘little psalm’ (not all the psalmelli were assigned at Mass: about a third were sung in connection with readings after Terce on Lenten weekdays). In the Middle Ages, whenever three lessons were retained, psalmelli separated the first (normally taken from the Old Testament or from the Acts of the Saints) from the second (taken from the letters of the Apostles). The Epistle was originally separated from the Gospel by the cantus (the counterpart of the Gregorian tract), the remnant of a psalm sung in directum; this was later replaced (except in penitential times) by the alleluia, a chant inaugurated as a joyful introduction to the Gospel that followed.
Almost all psalmelli have a single verse, although three have two verses and Foderunt manus meas (for Good Friday), has six. All the authentic Ambrosian cantus (a few chants so identified in the antiphoners properly belong to other chant classes) are psalm verses set to variants of the same highly decorated recitation tone (ex.2). Most cantus consist of only a single verse, always the first of the psalm, an indication that they are the remains of a more extensive recitation. However, something of the earlier practice does survive: the four cantus for the first four Sundays in Lent consist of three verses; and Laudate Dominum omnes, the chant for the Saturday of the fifth week, includes the whole of the brief Psalm cxvi. Cantus consisted of whole poems or extensive psalmody on three other occasions outside Mass. A variant of the Mass melody was used on Good Friday and Holy Saturday for the recitation, after Terce, of two compilations from the Canticle of Daniel (Benedictus es, Domine), and was employed a second time on Holy Saturday for the complete Canticle of Moses (Cantemus Domino gloriose). The repertory of Ambrosian Mass alleluias did not receive the kind of development seen in Gregorian books. Only ten basic melodies are used for the alleluia proper, which is characterized by a melisma or jubilus on its final syllable (‘IA’, the name of God) and ten melodies for the 52 authentic alleluia verses. The Ambrosian and Gregorian Mass alleluias are similar in style, but only the Ambrosian preserve the developed jubili – Notker’s longissimae melodiae. On important occasions successively longer melodiae primae, secundae and even tertiae (the ‘francigena’) were provided for the repetitions after the verse.
During the Middle Ages the Ambrosian Mass regularly required three Ordinary chants: the Gloria, Credo and Sanctus. At this period there was only one Mass Gloria (the Antiphonale missarum of 1935 contains four settings, but these include the melodies intended for the (abandoned) Gloria in excelsis at Matins) and also only a single Credo melody, the latter constructed of two simple recitation tones that alternate irregularly, except for the last few words and a brief melisma on ‘amen’. There are two Ambrosian Sanctus settings, but the Sanctus festivus is nothing more than a moderately decorated version of the simple, mainly syllabic, Sanctus ferialis. Late copies of the antiphoners sometimes include additional settings of the Sanctus taken over from Gregorian books; the melodies ad libitum published in the antiphoner of 1935 are modern fabrications.
Although there is no Ambrosian Mass chant corresponding to the Roman Kyrie–Christe–Kyrie eleison, a triple Kyrie (ter kyrie) was chanted chorally at three points in the Mass: after the Gloria, after the reading of the Gospel and after the distribution of communion. The antiphoners do not include the melodic formulae for these supplications; it is likely that they were very simple (and similarly the ter kyrie that periodically punctuated Ambrosian Matins and Vespers).
See also Beneventan chant; Gallican chant; Gregorian chant; Mozarabic chant; Old Roman chant; Ravenna chant.
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G.M. Dreves: Aurelius Ambrosius, der Vater des Kirchengesanges: ein hymnologische Studie (Freiburg, 1893/R)
P. Cagin: ‘Avant-propos sur l’antiphonaire ambrosien’, PalMus, 1st ser., v (1896/R), 1–200
E. Garbagnati: Gli inni del breviario ambrosiano corredati dalle melodie liturgiche (Milan, 1897)
A. Mocquereau: Notes sur l’influence de l’accent et du cursus toniques latins dans le chant ambrosien (Milan, 1897)
A. Ratti [Pope Pius XI]: La chiesa ambrosiana (Milan, 1897); repr. in Scritti storici (Florence, 1932), 1–200
A. Amelli: Paolo Diacono, Carlo Magno e Paolino d’Aquileia in un epigramma inedito intorno al canto gregoriano ed ambrosiano (Monte Cassino, 1899)
M. Magistretti: La liturgia della chiesa milanese nel secolo IV (Milan, 1899)
A. Andreoni: Breve metodo teorico-pratico di canto fermo ambrosiano (Milan, 1900, 3/1929)
P. Wagner: Einführung in die gregorianischen Melodien: ein Handbuch der Choralwissenschaft, i: Ursprung und Entwicklung der liturgischen Gesangsformen bis zum Ausgang des Mittelalters (Leipzig, 2/1901, 3/1911/R; Eng. trans., 1901/R); iii: Gregorianische Formenlehre: eine choralische Stilkunde (Leipzig, 1921/R)
G. Morin: ‘Un système inédit de lectures liturgiques en usage au VIIe/VIIIe siècle dans une église inconnue de la haute Italie’, Revue bénédictine, xx (1903), 375–89
A. Steier: Untersuchung über die Echtheit der Hymnen des Ambrosius (Leipzig, 1903)
M. Magistretti: ‘De ordine antiquae psalmodiae ambrosianae dissertatio’, Manuale Ambrosianum ex codice saec. XI olim in usum canonicae Vallis Travaliae, pt 2 (Milan, 1904), 40–73
G. Morin: Les véritables origines du chant grégorien (Rome, 2/1904)
A. Gatard: ‘Ambrosien (chant)’, Dictionnaire d’archéologie chrétienne et de liturgie, ed. F. Cabrol and H. Leclercq, i/5 (Paris, 1905)
P. Lejay: ‘Ambrosien (rite)’, ibid.
A. Gastoué: Les origines du chant romain: l’antiphonaire grégorien (Paris, 1907/R)
H. Jenner: ‘Ambrosian Rite’, The Catholic Encyclopedia, ed. C.G. Herbermann and others (London, 1907–22)
A. Mocquereau: Le nombre musical grégorien ou rythmique grégorienne (Rome and Tournai, 1908–27; Eng. trans., 1932)
E. Bannister: ‘Ordine ambrosiano per venerdì e sabato santo’, Miscellanea Ceriani (Milan, 1910), 129–48
R. Andoyer: ‘L’ancienne liturgie de Bénévent’, Revue du chant grégorien, xx (1911–12), 176–83; xxi (1912–13), 14–20, 44–51, 81–5, 112–15, 144–8, 169–74; xxii (1913–14), 8–11, 41–4, 80–83, 106–11, 141–5, 170–72; xxiii (1919–20), 42–4, 116–18, 151–3, 182–3; xxiv (1920–21), 48–50, 87–9, 146–8, 182–5
E. Garbagnati: ‘Ricerche sull’antica salmodia ambrosiana’, Rassegna gregoriana, x (1911), 361–86; also in Ambrosius, iv (1928), 25–7, 131–7, 181–5; v (1929), 33–8
A. Ceriani: Notitia liturgiae ambrosianae ante s. XI. med. (Milan, 1912)
A. Gastoué: Musique et liturgie: le graduel et l’antiphonaire romains: histoire et description (Lyons, 1913/R)
C.F. Savio: Gli antichi vescovi d’Italia dalle origini al 1300, i: La Lombardia, pt 1: Milano (Florence, 1913)
K. Ott: Le melodie ambrosiane studiate specialmente in rapporto alle gregoriane (Rome, 1915)
M. Magistretti and U. Monneret de Villard, eds.: Liber notitiae sanctorum mediolani [of Goffredo da Bussero] (Milan, 1917)
U. Monneret de Villard: ‘L’antica basilica di Sancta Tecla in Milano’, Archivio storico lombardo, xliv (1917), 1–24
W.C. Bishop: The Mozarabic and Ambrosian Rites: Four Essays in Comparative Liturgiology (London, 1924)
A. Bernareggi: ‘Ciò che certamente la liturgia ambrosiana deve a S. Ambrogio’, Ambrosius, i (1925), 130–32; ii (1926), 8–11, 45–8, 99–101, 113–15; iii (1927), 45–8, 231–7
L. Duchesne: Origines du culte chrétien (Paris, 5/1925)
A. Pio: ‘La litania Dicamus omnes’, Ambrosius, i (1925), 89–91
M. Busti: ‘Un’antica melodia ambrosiana del Gloria in excelsis’, Ambrosius, ii (1926), 12–13
E. Garbagnati: ‘L’opera di Camillo Perego’, Ambrosius, ii (1926), 38–40
A. Pio: ‘Sallenda e salmodia’, Ambrosius, ii (1926), 87–9
D. Cantù: ‘L’innodia classica ambrosiana’, Ambrosius, iii (1927), 95–9
E. Garbagnati: ‘Le modulazioni ambrosiane per le orazioni’, Ambrosius, iii (1927), 13–15
G. Bas: ‘Sull’esecuzione misurata degl’inni giambica ambrosiani’, Ambrosius, iv (1928), 217–24
D. Cantù: ‘Le modulazioni ambrosiane delle orazioni’, Ambrosius, v (1929), 202–7
D. Cantù: ‘Il canto del Dominus vobiscum e le modulazioni ambrosiane delle orazioni’, Ambrosius, vi (1930), 118–22
E. Garbagnati: ‘Ancora della modulazione delle orazioni e del Dominus vobiscum nel rito ambrosiano’, Ambrosius, vi (1930), 152–8
E. Garbagnati: ‘Gloria, Credo, Sanctus’, Ambrosius, vi (1930), 13–18
C. Saporiti: ‘A proposito di ritmo nel canto degli inni ambrosiani’, Ambrosius, vi (1930), 63–4
P. Borella: ‘Note storiche circa l’antifona ad crucem alle laudi’, Ambrosius, vii (1931), 225–35
D. Cantù: ‘Federico Borromeo per il canto liturgico’, Ambrosius, vii (1931), 345–7
D. Cantù: ‘L’andamento tipico giambico degli inni ambrosiani è insegnato da Santo Agostino?’, Ambrosius, vii (1931), 21–6
R.-J. Hesbert: ‘La tradition bénéventaine dans la tradition manuscrite’, PalMus, 1st ser., xiv (1931–6/R), 60–479
P. Borella: ‘L’antifona ante crucem’, Ambrosius, viii (1932), 217–24
P. Borella: ‘L’antifona post Evangelium’, Ambrosius, viii (1932), 97–107; xvii (1941), 119–23
D. Cantù: ‘La modulazione salmodica ambrosiana – sviluppo – critica’, Ambrosius, viii (1932), 23–31
G.M. Suñol: ‘Il canto liturgico nella tradizione ambrosiana’, Ambrosius, viii (1932), 254–62
P. Borella: ‘Il capitulum delle lodi ambrosiano e il versus ad repetendum romano’, Ambrosius, ix (1933), 241–52
H. Leclercq: ‘Milan’, Dictionnaire d’archéologie chrétienne et de liturgie, ed. F. Cabrol and H. Leclercq, xi/1 (Paris, 1933)
E.T. Moneta Caglio: ‘Capitulum e completorium’, Ambrosius, ix (1933), 191–209
G.M. Suñol: ‘La notazione musicale ambrosiana’, Ambrosius, ix (1933), 253–5, 280–86; x (1934), 43–56
P. Borella: ‘Il capitolare ed evangelario ambrosiano di S. Giovanni Batt. in Busto Arsizio’, Ambrosius, lvii (1934), 210–32
A. Gastoué: ‘Les chants du Credo’, Revue du chant grégorien, xxxviii (1934), 14–18
G.M. Suñol: ‘Versione critica del canto del praeconium paschale ambrosiano’, Ambrosius, x (1934), 77–96
F.H. Dudden: The Life and Times of St Ambrose (Oxford, 1935)
E.T. Moneta Caglio: ‘L’ingressa’, Ambrosius, xi (1935), 34–8
E.T. Moneta Caglio: ‘La Laus angelorum, l’inno mattinale dell’antichità’, Ambrosius, xi (1935), 209–23
G. Suñol: ‘Notation du chant de la liturgie milanaise’, Introduction à la paléographie musicale grégorienne (Rome, 1935) [facs. added after p.216]
E.T. Moneta Caglio: ‘Ad te Domine’, Ambrosius, xii (1936), 207–13
E.T. Moneta Caglio: ‘Dominus vobiscum’, Ambrosius, xii (1936), 14–15
O. Heiming: ‘Vorgregorianische römische Offertorien in der mailändischen Liturgie’, Liturgisches Leben, v (1938), 72–8; repr. in Ambrosius, xv (1939), 83–8
R.-J. Hesbert: ‘L’Antiphonale missarum de l’ancien rit bénéventain’, Ephemerides liturgicae, lii (1938), 28–66, 141–58; liii (1939), 168–90; liv (1945), 69–95; lx (1946), 103–41; lxi (1947), 153–210
M. Magistretti: ‘L’anno liturgico ambrosiano, “6: Natalitia Martyrum” ed altre feste’, Ambrosius, v (1938), 29–32
B. Neunheuser: ‘Orientalisches Reichtum in der mailändischen Liturgie: das Transitorium’, Der christliche Orient in Vergangenheit und Gegenwart, iii (1938), 45–51; repr. in Ambrosius, xv (1939), 173–8
G.M. Suñol: ‘La restaurazione ambrosiana’, Ambrosius, xiv (1938), 145–50, 174–6, 196–200, 296–304; xv (1939), 113–16; xvi (1940), 12–16, 108–12
E.T. Moneta Caglio: Intendere la messa (Milan, 1939)
R.-J. Hesbert: Le problème de la transfixion du Christ dans les traditions: biblique, patristique, iconographique et musicale (Tournai, 1940)
M. Altissent: ‘Il “tonus praefationis” ambrosiano’, Ambrosius, xvii (1941), 23–31
B. Kahmann: Lo stile melodico nel canto ambrosiano (diss., Pontificio Istituto di Musica Sacra, Rome, 1942)
E. Cattaneo: Il breviario ambrosiano: note storiche ed illustrative (Milan, 1943)
G.M. Suñol: ‘Contributo del canto ambrosiano allo studio della modalità’, Ambrosius, xxii (1946), 6
M. Avery: ‘The Beneventan Lections for the Vigil of Easter and the Ambrosian Chant banned by Pope Stephen IX at Montecassino’, Studi gregoriani, i (1947), 433–58
O. Heiming: ‘Inizio o antifona completa prima dei salmi?’, Ambrosius, xxiii (1947), 108–10
E. Wellesz: Eastern Elements in Western Chant, MMB, Subsidia, ii (1947)
M. Altissent: ‘L’accompagnamento del canto ambrosiano’, Ambrosius, xxiv (1948), 31
P. Borella: ‘L’ingressa della messa ambrosiana’, Ambrosius, xxiv (1948), 83–90
E. Cattaneo: ‘Una scuola ed un trattato di canto nel 1400’, Ambrosius, xxiv (1948), 106–13
E. Cattaneo: ‘Franchino Gaffurio e il canto ambrosiano’, Ambrosius, xxv (1949), 8–14
E. Cattaneo: ‘I canti della frazione e comunione nella liturgia ambrosiana’, Miscellanea liturgica in honorem L.Cuniberti Mohlberg, ii (Rome, 1949), 147–74
E. Cattaneo: ‘Rito ambrosiano e liturgia orientale’, Ambrosius, xxv (1949), 138–61
D. Delalande: Vers la version authentique du graduel grégorien: le graduel des Prêcheurs (Paris, 1949)
E. Cattaneo: Note storiche sul canto ambrosiano (Milan, 1950)
L. Brou: ‘L’alleluia dans la liturgie mozarabe’, AnM, vi (1951), 3–90
E. Griffe: ‘Aux origines de la liturgie gallicane’, Bulletin de littérature ecclésiastique, lii (1951), 17–43
M. Huglo: ‘A proposito di una nuova enciclopedia musicale: le melodiae ambrosiane’, Ambrosius, xxvii (1951), 114–19
A. De Capitani d’Arzago: La chiesa maggiore di Milano (Milan, 1952)
M. Huglo: ‘L’invito alla pace nelle antiche liturgie beneventana e ambrosiana’, Ambrosius, xxx (1954), 158–62
M. Huglo: ‘Vestiges d’un ancien répertoire musical de Haute-Italie’, Katholische Kirchenmusik: Vienna 1954, 142–5
M. Huglo: ‘Antifone antiche per la Fractio panis’, Ambrosius, xxxi (1955), 85–95
R. Jesson: Ambrosian Chant: the Music of the Mass (diss., Indiana U., 1955)
H. Hucke: ‘Die gregorianische Gradualweise des 2. Tons und ihre ambrosianischen Parallelen’, AMw, xiii (1956), 285–314
J. Pinell: ‘Vestigis del lucernari a occident’, Liturgica, i (1956), 91–145
A. Baumstark: Nocturna laus: Typen frühchristlicher Vigilienfeier und ihr Fortleben (Münster, 1957)
M. Huglo: ‘L’annuncio pasquale della liturgia ambrosiana’, Ambrosius, xxxiii (1957), 88–91
H. Husmann: ‘Zum Grossaufbau des ambrosianischen Alleluia’, AnM, xii (1957), 17–33
E.T. Moneta Caglio: ‘I responsori “cum infantibus” nella liturgia ambrosiana’, Studi in onore di Mons. C. Castiglioni, ed. A. Giuffré (Milan, 1957), 481–578
H. Husmann: ‘Alleluia, Sequenz und Prosa im altspanischen Choral’, Miscellánea en homenaje a Monseñor Higinio Anglés (Barcelona, 1958–61), i, 407–16
C. Marcora: Due importanti codici della biblioteca del Capitolo di Gallarate (Gallarate, 1958)
M. Huglo: ‘Une antienne ambrosienne diffusée hors de Milan’, Ambrosius, xxxv (1959), 144–5
A.A. King: Liturgies of the Past (London, 1959)
A. Paredi: S. Ambrogio, e la sua età (Milan, 1960; Eng. trans., 1964)
J. Claire: ‘L’évolution modale dans les répertoires liturgiques occidentaux’, Revue grégorienne, xl (1962), 196–211, 229–48; xli (1963), 49–62, 77–102, 127–51
E. Jammers: Musik in Byzanz, im päpstlichen Rom und im Frankenreich: der Choral als Musik der Textaussprache (Heidelberg, 1962)
A. Bär: ‘Enige kanttekeningen bij het vergelijken der oudromeinse en gregoriaanse introitus- en communiemelodieën en hun ambrosiaanse pendanten’ [Some observations on the comparison of the Old Roman and Gregorian introit and communion melodies and their Ambrosian parallels], Gregoriusblad, lxxxiv (1963), 11–18
J. Claire: ‘La psalmodie responsoriale antique’, Revue grégorienne, xli (1963), 8–31
K. Levy: ‘A Hymn for Thursday in Holy Week’, JAMS, xvi (1963), 127–75
B. Stäblein: ‘Zur archaischen ambrosianischen (Mailänder) Mehrstimmigkeit’, A Ettore Desderi (Bologna, 1963), 169–74
G.B. Baroffio: Die Offertorien der ambrosianischen Kirche: Vorstudie zur kritischen Ausgabe der mailändischen Gesänge (Cologne, 1964)
P. Borella: Il rito ambrosiano (Brescia, 1964)
G. Bascapè and P. Mezzanotte: Il duomo di Milano (Milan, 1965)
G.-M. Oury: ‘Psalmum dicere cum alleluia’, Ephemerides liturgicae, lxxix (1965), 97–108
M. Huglo: ‘Relations musicales entre Byzance et l’Occident,’ Byzantine Studies XIII: Oxford 1966, 267–80
R.G. Weakland: ‘The Performance of Ambrosian Chant in the Twelfth Century’, Aspects of Medieval and Renaissance Music: a Birthday Offering to Gustave Reese, ed. J. LaRue and others (New York, 1966/R), 856–66
G.B. Baroffio: ‘Die mailändische Überlieferung des Offertoriums Sanctificavit’, Festschrift Bruno Stäblein, ed. M. Ruhnke (Kassel, 1967), 1–8
P.M. Ernetti: La musica aquileiese (Udine, 1967–8)
H. Leeb: Die Psalmodie bei Ambrosius (Vienna, 1967)
G.-M. Oury: ‘Formulaires anciens pour la Messe de Saint Martin’, EG, vii (1967), 21–40
N. Ghiglione: La formula sol-la-si-do-do e le sue varianti nel canto ambrosiano (diss., Pontificio Istituto Ambrosiano di Musica Sacra, Milan, 1968)
C.A. Miller: ‘Gaffurius’s Practica musicae: Origin and Contents’, MD, xxii (1968), 105–28
T.L. Noblitt: ‘The Ambrosian Motetti missales Repertory’, MD, xxii (1968), 77–103
O. Heiming: Das ambrosianische Sakramentar von Biasca (Münster, 1969)
K. Levy: ‘The Italian Neophytes’ Chants’, JAMS, xxiii (1970), 181–227
B. Stäblein: ‘Der altrömische Gesang’, Die Gesänge des altrömischen Graduale Vat.lat.5319, MMMA, ii (Kassel, 1970), 3–164
G. Winkler: ‘Das Offizium am Ende des 4. Jahrhunderts und das heutige chaldäische Offizium’, Ostkirchliche Studien, xix (1970), 289–311
T. Bailey: The Processions of Sarum and the Western Church (Toronto, 1971)
K. Levy: ‘Lux de luce: the Origin of an Italian Sequence’, MQ, lvii (1971), 40–61
G.B. Baroffio: ‘Die liturgischen Gesänge im Abendland: ambrosianische Liturgie’, Geschichte der katholischen Kirchenmusik, ed. K.G. Fellerer, i (Kassel, 1972), 191–204
G.B. Baroffio: ‘Osservazioni sui versetti degli offertori ambrosiani’, Ricerche storiche sulla chiesa ambrosiana, iii (1972), 54–8
M. Huglo: ‘Die liturgischen Gesänge im Abendland: altgallikanische Liturgie’, Geschichte der katholischen Kirchenmusik, ed. K.G. Fellerer, i (Kassel, 1972), 219–33
J. Hourlier: ‘Notes sur l’antiphonie’, Gattungen der Musik in Einzeldarstellungen: Gedenkschrift Leo Schrade, ed. W. Arlt and others (Berne, 1973), 116–43
G. Tibiletti: ‘Antifonario processionale delle Litanie Triduane (manoscritto del 1492)’, Ephemerides liturgicae, lxxxvii (1973), 145–62
G. Vigotti: La diocesi di Milano alla fine del secolo XIII (Rome, 1974)
J. Schmitz: Gottesdienst im altchristlichen Mailand: eine liturgiewissenschaftliche Untersuchung über Initiation und Messfeier während des Jahres zur Zeit des Bischofs Ambrosius (†397) (Cologne, 1975)
E. Moneta Caglio: ‘La “Laus angelorum” ambrosiana’, Lo jubilus e le origine delle salmodia responsoriale (Venice, 1976–7), 134–83
T. Bailey: ‘Ambrosian Psalmody: an Introduction’, Rivista internazionale di musica sacra, i (1980), 82–9
T. Bailey: ‘Ambrosian Choral Psalmody: the Formulae’, Rivista internazionale di musica sacra, i (1980), 300–28
A. Turco: ‘Il repertorio dell’ufficio ambrosiano’, Rivista internazionale di musica sacra, iii (1982), 127–224
T. Bailey: ‘Ambrosian Chant in Southern Italy’, JPMMS, vi (1983), 1–7
N. Ghiglione: ‘Il libro nel territorio ambrosiano dal VI al IX secolo’, Milano: una capitale, da Ambrogio ai Carolingi, ed. C. Bertelli (Milan, 1987), 130–61
T. Bailey: ‘Milanese Melodic Tropes’, JPMMS, xi (1988), 1–12
N. Ghiglione: ‘Testimonianze di canto ambrosiano nel IX secolo: i salteri diacritici e il salterio Simeone’, Rivista internazionale di musica sacra, ix (1988), 247–62
L. Migliavacca: ‘Elementi di autenticità degli inni santambrosiani’, ibid., 155–75
A. Turco: ‘La modalità nel repertorio del canto ambrosiano’, ibid., 215–46
A. Turco: ‘Strutture modali nel canto ambrosiano’, Musica e liturgia nella cultura mediterranea, ed. P. Arcangeli (Florence, 1988), 201–20
T. Bailey and P. Merkley: The Antiphons of the Ambrosian Office (Ottawa, 1989)
A. Paredi: Storia del rito ambrosiano (Milan, 1990)
T. Bailey: Antiphon and Psalm in the Ambrosian Office (Ottawa, 1994)
T. Bailey: ‘Ambrosian Double Antiphons’, Laborare fratres in unum: Festschrift László Dobszay zum 60. Gerburtstag, ed. J. Szendrei and D. Hiley (Hildesheim, 1995), 11–24
T. Bailey: ‘Antiphon Classification and the Development of the Ambrosian Sanctorale’, The Divine Office in the Latin Middle Ages: Methodology and Source Studies, Regional Developments, Hagiography, ed. M. Fassler and R.A. Baltzer (New York, 2000) [Steiner Fs]